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鏑木清方作品の再評価 : 「築地明石町」 をめぐって
http://hdl.handle.net/10959/1925
http://hdl.handle.net/10959/19252a1a6467-549b-4d5a-a256-baebed3a24cf
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
jinbunkagaku_7_27_59.pdf (5.2 MB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2012-03-15 | |||||
| タイトル | ||||||
| タイトル | 鏑木清方作品の再評価 : 「築地明石町」 をめぐって | |||||
| 言語 | ja | |||||
| タイトル | ||||||
| タイトル | カブラキ キヨカタ サクヒン ノ サイヒョウカ ツキジ アカシチョウ オ メグッテ | |||||
| 言語 | ja-Kana | |||||
| タイトル | ||||||
| タイトル | On the Reappraisal of Kiyokata Kaburaki's Painting : Tsukiji Akashi Cho | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
| 資源タイプ | departmental bulletin paper | |||||
| 著者 |
神林, 淳子
× 神林, 淳子× Kanbayashi, Junko |
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| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | Having studied painting under Toshikata Mizuno， who succeeded the style of the Ukiyoe tradition， Kiyokata Kaburaki（his given name was Ken－ichi：1878－ 1972）established himself as an illustrator of picture books by the middle of 30th year of the Meiji Era． As he was also practicing the traditional Japanese style paintlng（Nikuhitsu－ga），his painting titled“A Mirror”was accepted and exhibit・ ed at the Third Annual Exhibition sponsored by the Ministry of Culture and Education in l909（the 42nd year of the Meiji Era）． Since then， Kiyokata was uninterruptedly active as one of the central figures of governmental art exhibitions throughout the time from the later Meiji Era to the beginning of the Showa Era． The painting titled“Tsukiji－Akashi・cho”is not only one of Kiyokata Kaburaki’s masterpieces， shown at the Eighth Imperial Academy of Art Exhibition in l927（the second year of the Showa）and awarded The Imperial Academy of Art Award， but also this painting has been considered one of the greatest works in the history of Japanese painting of the Modern Era． This landscape was painted from memory of a view of a young woman standing alone in front of the Tsukiji－Akashi－cho facing Tokyo Bay at the time of the Meili Era， which was totally destroyed by the Great Kanto Earthquake of 1923（the twelfth year of the Taisho Period）． Conventionally， it has been pointed out that， succeeding the style of the Ukiyoe portrait of a lady， Kiyokata in fact realized his own new modern style of the Iady’s portrait（Bijin・ga）in that painting as well as made an attempt to express his heart－felt yearning fQr the lost past of this area where he grew up． In addition to this personal emotion of Kiyokata， I have the opinion±hat this painting also reflected the trend of thought at that time among such communication media as arts，1iterature and other genres， which tried to capture the memory of and reconstruct the lost past of the Edo and Meiji Eras in the face of the emergence of the new， modern urban Tokyo through rebuilding endeavors． On the other hand， as Tsukiji－Akashi－cho was a residential area for foreigners until the middle of the Meiji Era， it had been known as a place of exotic atmosphere． This Tsukiji・Akashi・cho became a double fantasy such that the area wh豆ch had been in itself a fanciful space of exotic taste（with foreigners and their residences）became a genuine fantasy， because it was completely demoli． shed by the Great Kanto Earthquake and no longer exists， as it had been． It can be envisaged through Kiyokata’s own writings that he himself was explicitly aware of this duplicated illusion and it is also obvious that his s重ght of this urban area was baSed on modernism． As his method of expression to represent the fanciful atmosphere of this urban district， Kiyokata modeled for imagery some of the fanciful lady’s portraits of the German and the British painters of the second half of the 19th century． Furthermore， Kiyokata Kaburaki was successful in expressing this fancifulness in Tsukiji－Akashi－cho by creating the portrait of a young woman with narrativity and illusion through such well chosen fashionable expressions as barefooted， touseled western－styled hair， black dress and the ring． Until now， highly appreciated as a．painter of lady’s portrait， Kiyokata Kaburaki’s paintings have been prone to be forsaken， due to the excuse of the lack of realistic representation in his works， viewed from the context of the historical development of Japanese modern art with special emphasis on realism。 How・ ever， the concept of Japanese modern art and its framework itself now has been put to question． Even such a viewpoint has been proposed to consider painting ashow and entertainment． Looking afresh at Kiyokata’s works in such a context， shouldn’t the existence of a large number of viewers wondering in the fantasy world of the Meiji Era portrayed（as many of recent exhibitions of Kiyokata Kaburaki revealed），for example， in Tsukiji－Akashi－cho unmistakably indicate the necessity of re－appraisal on a different criterion from that of realism in regard to the Japanese modern artP | |||||
| 書誌情報 |
ja : 学習院大学人文科学論集 en : Gakushuin University studies in humanities 号 7, p. 27-59, 発行日 1998-09-30 |
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| 出版者 | ||||||
| 出版者 | 学習院大学大学院人文科学研究科 | |||||
| 言語 | ja | |||||
| ISSN | ||||||
| 収録物識別子タイプ | PISSN | |||||
| 収録物識別子 | 09190791 | |||||
| 書誌レコードID | ||||||
| 収録物識別子タイプ | NCID | |||||
| 収録物識別子 | AN10398283 | |||||
| フォーマット | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | application/pdf | |||||
| 著者版フラグ | ||||||
| 出版タイプ | VoR | |||||
| 出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||
| URI | ||||||
| 識別子 | http://hdl.handle.net/10959/1925 | |||||
| 識別子タイプ | HDL | |||||
